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RIIffiTUIRES
Written, illustrated, and designed by
LENN REDMAN

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contemp:ffigr|ooks, nc. r
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in Publication Data
Library of Congress Cataloging

Redman, Lenn.
How to draw caricatures'

Includes index'
1. Cartooning' I' Title'
-1984 74t'5 83-18963
¡¡ci:zo.n¿z
rsBN 0-8092-5685-1

title page
PhotoEraphs of Lenn Redman's hands on
pig"'f SE bY Vincent Rondone'
""J

Redman
CopYright O 1984 bY Lenn
All rights reservPd
prnfi"tn"O by Contemporary Books' lnc' - - .
lllinois^6o601-6790
Two Prudential Plaza, Cr'i"ágo'
states of Aqe-19a
rti""rt""iri"J in tn" United Number: 0-8092-5685-1
lnternational StanAarO ásák

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LENN REDMAN-Teaching at Los Angeles Communily Services
Pierce College, Woodland Hills, California

PHOTOGRAPH BY MT'RO:§ I
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THE PRINCIPLE OF RELATTVTTY
you want to know how to determine a person's distinguishing characteristics? All right,
here is the key-RELATIVITY.
The art of caricaturing was probably as far from Albert Einstein's mind as the things he
thought about. are distaát from the eárth. However, as difficult as it is to understand the
cámflexiti", of hi, theory of relativity, it inspired mewith a workable formula for drawing
caricatures. I use the principle that áil tfri.rgr are relative-that things appear as they do
because of their relationship to each other.
Relativity's truism applies to everything: sizes, distances, speeds, weights, sounds, colors,
.r"r, p"rrJrralities u.rd ..ro.ul standárds.Everything! To illustrate: The vertical line on the
lower left side of this page is short, isn't it? Ño* .o*pare it with the Vertical line on the
i;;;; rigrri ria. "i;h";;se. The teft line has by contrást suddenly become long. Ólserve
ifr. rqrrá" on the ,rpp"i rlght "orrer of page 3. There- appears to be no qrrestion about its
being black. Now turn the"page and_co*pu." it with the square on page 5 and our
former
supp"osition about the bhókñess of the square on page 3 changes drastically. You can
."ááity see how this method of relative cbmparisons is applicable to distances, speeds,
,o,.rrÁ, and human traits-atl of which can bé utilized by the caricaturists of the dance,
music, literature, oratory, drama, and the graphic arts'
Relativity in the arts can be thought of as having two parts:
l.The relationship of things to others of their own kind'
Z. The relationship of things to their surrounding and abutting elements.
Both parts are at the heart of my method for exaggerating. They constitute my formula for
making comparisons.
In afpraising Part 1 for caricaturing, I take pleasure in introducing you to a very good
and valuable fiiend of mine, t]ne In-belweener.He is valuable because his construction may
be used as a frame of reference for determining how to exaggerate your subjects'features'
I will show you how to recognizeyovr subject'slndividuality by comparing him with the In-
betweener.

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serurl puesnoql e sr looq sq1 q sernlecrr€r rlot{l-ro3 pesod oq,vr aldoed poo8 eqr
Jo ecueJeedde p-reue8 eqI'leql ruoJJ -re3 Sureq se uollcnJlsuoJ s,Jeuooluoq-ul
.,{ur -reprsuoc 1 leepr -ro pcrd,{1 Sureq se uolleJn8guoc uetunq Jleql urrelco-rd oqm
sror{lne eql e{{un lnq rs>looq qcns
Jo lno uJoq r(¡er1,red se&\ reuosrtlaq-u1 ,{¡¡J
'reuueru sql q r{3e31 1eql le>Iretll eql uo
slooq ile puorlJnJlsur InJJepuoly\ Jo A\als e A\ou eJe eJer.{I 'suosr-redruoc e^rleleJ
3o ,(e,vr ,(q uorlcnJlsuoc uerunq eqt Surqceel uels o1 snrue8 eq1 qlyv\ opreuoo-I
llpeJc 1 ueunq aql lnoqe oJolu sn 1q3ne1 e^eq socJnos crJrluerJs
pocue^pe"(uroleue
q8noq¡ 'poleerc eq .,(ueur Jo snorueJ lsotu aq1 q ure-r8erp e^oqe
eql 'qceo-rdde ue qcns uo {reque 01 lsrrJ eql se^\ Icul¡ ep opreuoe-I e^orlaq I
'lueroJJrp ae ot punoq sr luetu8pnl -ro3 prep
-ue1s s,lsrue r{Jeo pue e{rle ,(1lcexe >1oo1 eldoed orrrl ou ecurs leJnl€u r{po s,leql
reJJrp suorurdo JIor{I ',{uroleue eql Jo sged snouel ueelueq seceds
-ler{A\etuos
e.\rleIer eq1 Suraor{s Áq suoll-rodord ,(poq eqr ,(¡rpor sroqtne rleql 'ed.(1 Ieepl
:o 1eord.,(1 e se 01 perreJer .{lluenbarC 'qooq ue 1euorlcnrlsur reqlo ur turq e{rT
Surqtauos 8uqoo1 sJelceJeqc uees aleq.,{eu¡ no.( 1nq'enbrun sr Jeueemleq-u1.(¡4i
(INDI N,/v\O UIIHI CO SUIHJO OJ
SCNIHI dO dIHSNOIIV'ISU gHJ
:I Ued .(1rnt1e1e¿
 {-f4- 4:
b

1- q
4-
b

4 ü"ú"("q-f §-

/b (= (=Q
(=J (= (-
rtt
-+-^ \ 4=
{{{4-qff
{" 4-(
Let us assume these
-drawings
circled in the center belongs
{ 4:{(-
represent all the different kinds of noses in the world. The one
to the in-Betweener. It's not large. It's not small. It doesn't turn up. Il
doesn't turn down. It's not iorr"uu". It's not convex. His nostris are neither
words, his nose is a composite of all.It is in between everyone's. ny keeping
iurg" nor small. In other
rh;;^ and shape of the
In-Betweener's nose in mind, it should be for you
9a-1v to see trow áiffererrith" subject's .ror" i, f.o*
his, thus enabling you to exaggerate the diffLrenies.
Ij vour subject's nose is larger than the In-betweener's make it even larger. If it's smaller than the
-In-betweener's, make it even smaller. If it's narrower, make it more narrow-and so on with
all your
subject's features. That in substance is what I qrgan by using Relativity part 1:
The relalion;;ilp ;f
things to others of their own kind.The "others of their ówn kiid" is exeápliii"Juv
trr" In-betweener,
my_valuable gauge for relative anatomic comparisons.
Use the same principle to determine the individuality of all your subject's features.
 .urqc eql
'saÁe aq1 Jo slrdnd eqt uae./htaq eruelsrp
Jo uroltoq aq1 pue asou aql Jo ruolloq eqi uea^\leq
eql 01 Pnbe lsoruP § qlnou aql Jo r{lpl^I aql ul\op p4r{l ¿ sr 1r 'asoda¡ ur sr qlnolu aq1 uaq^
r
l
) 1"-'
) l\
-v
'asou eql Jo drl eql
ruorJ {ceq prrql-auo sI
slrJlsou eql
Jo luorJ eqI
.asou aql
Jo ¡,lleq,, eql
'sef,e lleq-auo ,r{q <F OqOl
al{l Jo qtprl\ eq1 <l1 Ienba sr aurT e,{a sceJ oql Jo
eql 1€ peeq eql Jo aPrs rlrEe pue ]uoJl al{l IuorJ
se.{e aql uea^ueq aceds eq¡ 'sa,(a eparal slulsou ;.
ar{t Jo qlpr^\ aq1 ol ¡enba sr so,(a eql Jo seqol eql .,otloq aq1 pue eu, a.{a .i;i::tri;
el{l uao^\leq aceds aq¡'sa,{a aql 'qlnoul áq1 Pue esou 1as feql pue peaq eqt Jo 1oeq
uae.^\leq aceds eql o1 lenba sr esou ' aql uo3rr\láq a3€ds pue 1uo4 aql u3a^uaq ,teIr\JIEL{ UELI1
or{1 Jo ruolloq eql Jo qlPrm er{J eql 01 Ienbs sI Iceq requeJ ellll e ere sJee eqtr
esou eql Jo uolsnrlord aqJ
'urqr ar{l Jo urolloq aql pue
{- se.{a eq1 uao^Uaq ,{em¡eq e^oq€ --+
allu e q esou eql Jo ruolloq aqJ
'seÁe eqt
.¡o dot aqt
* ,ll!^ [á^al sr rsou aql ¡o do¡ aqI
-]
'uorsueurJp 1ua;edde
s1r sa8ueqc eaoru lselq3qs aql
'ure8u e.ral¡ 'eprs arll urorJ uees
se e,(a aq1 Jo rltpr,,Y\ aqt se atues
eql s1 aceds t€qI'esou eqt Jo
dot eqt pue a.(a eqt Jo luorJ eql
uee^ueq eceds aql Suuedruoc o
.{q ¡n¡s aq1 olur a,{a aql -o
§)
¡o qtdap eqt aurrurotep u€c noÁ o
6
D
oq,a
o
o
.D
'suorsueIurp
1ue-redde rraql se8ueqc
tuerualoru peaq lsetq8us aq¡
'1uo4 ar{l ruorJ Pa/t\er^ ueq.\\
sa,{a aq1 Jo azrs eq1 prrril e u€ql
ra8rc1 ,,{¡1q3¡s are ,{eq1 ¡epls eql 'e.¡enbs
arenbs aqt Jo q¡pn\ eqt sprrql-o^u urorJ pe.\lar^ 'Peer{ 3rI1 Jo ra1u33 lcayad e u€r{l ramorreu ,,{¡1q3¡1s
eeJ€ Ir¿ olul s¡t] .\\al.\ luojJ eql aql a^oqe .{1fq3¡¡s are se,{e aq¡ eeJE ue olul slrJ 1r\3r^ eprs 3qI
'uor1e3ol rrer{l eu[üJalep no,{ d¡aq p¡noqs sauq ,{eJ3 eqJ
'saJnleeJ aql
Jo uorlesol oql lueseJdar seu{ pollop er{J
SNOISNIII^üC 'IVINWf, ANV'IVIJVT S.USNASAAIIIS-NI IIHI iIdV iIdTIH
 6

HOW YOUR SUBJECT,S PROFILE MIGHT LOOK WITH THE

IN-BETWEENER,S FEATURES BUT SPACED DIFFERENTLY

With eyes above or below the eye

the eye line above the bridge line

With nose extending or above the nose line. With a broad head or a narrow
below the nose line

With eyes deeply set

mouth
line

With a flat nose or a long nose. With mouth above

the mouth line
 sql e{II Pedeqs eq srql e{I padeqs eq tq8rut
'sq1a>lII ro lq8tur peeq eJllua eq1 Jo peaq aq] Jo {req er{J
'{Jeq Jo'p:e.tro¡'no1 epeoeJ lr¡3rur aJeJ al{l
'q8rq las 1{3tur sree eql 'epn"rlord 1q3¡ur 1t "to ¡o uotgod e¡pprur aI{J
eparer lr{8ttu ef,uJ aq}
'epn-r1o"rd lq8tur 1t -to 'epn.r1o"td 1q3¡ru 1t -to
Jo qunoJ reil\ol aql
epeoar 1{3rur eceJ eq1 apa3eJ lq8nu ece¡
prlql re^\ol aql 'apnrlo;d lq8rur 1r -ro árI1Jo JIeq re,ry\ol áqI
Jo
S.UgNgg/V\Jgg-NI gHI WOdC UIIJüI(I IHCIIAI
E'IICOHd S,ISgfgnS UnOÁ ,¡v\OH InOgV gdOI I
 E

THE IN-BETWEENER: FRONT VIEW BUT. . .

,-^.
eye line ---->

with eyes closer with eyes further with eyes below

together apart the eye line

--
nose line ----r

with eyes above with nose below with nose above

the eye line the nose line the nose line

Though the variations of a

person's features from that of
the In-betweener may not be as
extreme as I have drawn them,
the most minute difference in
.- ¿+\ ,^. the location of a feature makes
-\ one's general appearance
unique from everyone else's.
But we've only just begun.
Scrutinize all the sizes and
mouth l¡ne ----) shapes of the subjects' features
and cranial variations in this
book for a small inkling of
humankind's multitudinous
with mouth above with mouth below variety.
the mouth line the mouth line
 'ees 01 álq€un ere no.{ peaq eql
Jo
uoruod leql JoJ no,( elesuadtuoc ueql eJorrr
II!y\ aJueJuadde IeJeuaS s,13elqns JnoÁ
uo seq U tceJJe 8urlsa-ralur eqt pue tI qlyy\
aleq no.( unJ eqI 'alqernlecuec ,(¡qe,(o[ua
srJrer{'ool ueqJ'qlnoru eql os¡e '.{¡elueprc
-ut pu€-esou eql Jo qlptl\\ or{1 alera88exe
01 rnor{ eurruJelep d¡aq ¡uvr sa,,(a eq1 uealyu
-aq eoeds aql 'se,{e eql 01 asolo ur sauroo
pue sJea eql sJe^os Jrer{ uaq^ ¡oN ¿ural
-qo"rd e 1€q1 sI '^aer^ áql lrnrlsqo saop rrcq
s,e¡doad lsoru lng '¡narn ¡nor( lcnJlsqo lou
seop rrer.{ asoqm euo ro uos¡ad pepeeq-pleq
I e Suurterp uar{1vr JaprsuoJ o1 luelrodtur e-re
I \ I sJea aql pue se,(e aql uoeluoq saceds aq¡
/(
'JaprA\ 1I 01 lue.Y\
,{¡3ur1se:1uoc
p,nor( aseJ l{Jrq1r\ ur-apuv\ ^\eJP
:eedde asou srq e{eru lr{8rur lI 'Jaq1e3o1
asolc aJe se,{a s,lcalqns:no,( Jr JO 'JaA\oJJeu
\ I 1l ¡AEJp 01 l.UeA\ p,nO,,( 'oSOU. S,JaUee./K1aq
-uI ue seq lcefqns;no,{ ¡ uele 'eseJ r{cFllv\
ur-.\\oJJeu ,(¡Eu4se"r1uoc ;eedde esou s¡Je
-uee.\\1aq-ul ue e>l€ru.{eur ¡ede JeJ aJe leql
sa.(a 'e¡dtuexo Jod 'ác€J eql Jo lsar eq1 aJnl
-ecrJe3 no.,( .,(e.u eq1 m osp lnq reJeJ ar{1 Jo
uorpod:e¡ncrged 1eql Surrrrerp -ro¡,{¡uo 1ou
luepodurr fl s"rolceJ Sulceds esaql Jo uorlp
-8oca¡ -rno¡ lenbeun eq ,{eur .{aqt 'e8ed 8ur
-pace.rd aq] uo umoqs se 'to'lenbe aq ,{eur
se,{a aql punoJe pue uaa.^Aleq saceds aq¿
'sree pue se,{a eql uaa*ueq seceds oq} auru
-Jelep 1eq1 se,(e er{l Jo azrs eq} pue aur¡ e.(a
eql le peáq aq1 Jo r{lptl\{ eq1 sr }¡ 'euq a,{e
pue 's¡m,o['s¡aaqc aql ]e JapeoJq ere 'qseg
e^rssesxe 01 anp,{¡¡ensn'3uros pue urnruuJc
le
eql Jely\oJJeu aJe speaq eIIIos '[e 1ou 1nq
lsorrr Jo enrl sr leql 'eu¡ a.{a pue
( -aldoed
's¡znof's¡aeqc eql ]e Ja.^aoJJ€u pue rxnrueJc
\ eql le JepeoJq sr peaq s¡Jeuee.\uoq-q eql
{:r t \.3!
\ /
'soJnlecrJeJ SuuY\€Jp
JoJ ecuoJeJer Jo aruerJ Jno 01 uorsueurrp Jer.{loue ppe 01 ÁJesseJou sr 11 .e8ue-r
Peorq srr{l Jo esneceg'peoq uetunq eql 01 ere ereql sedeqs pue sqlpl¡A Jo aSue¡
snopuetueJl eql ozltuollde s8uuvre-rp osoql 'sur.ro3 peleJe8Sexo pue parJrTdurrs uJ
SIdVHS (VgH
6
t0

HAIR

You may eventually establish a style of caricaturing

requiring no more than a scribble for hair. That's all
right.If the face is drawn with scribbly lines, the hair
should be scribbly. But regardless of the style of
drawing you finally master, it's good to know as
much about the true construction of hair as possible.
Hair grows, hangs, and sets irregularly. Hair is soft
and its strands tend to overlap each other.Individual
hairs and strands of hair frequently stand out away
from the others. And hair reflects light to some
extent the protruding portions of hair are usually
highlighted; the receding portions are more apt to be
in shadow.

é\
\-/

a\/q

,R,,,)R
 '{ooq eq} Jo pua eql1e
pelurJd sr ruaod ala[duroo er{¿'salr
-es eures eql uroJJ ale 6L pue g¿
sa8ed 'puDlueunq IIe Jo .(lrlEuour
-rroc eql slealar J1as1r Suruorl
-sanb pue Surqucsap ur 'r.IJrr{,tr punt
-uetunr{ Jo,{poq alrsodruoo pue elrl
;cálloJ e Jo elrlceds:ed aql ruor¡
ualllJ1v\ sI pue .,¿I luv leq^A,, pel1l1
-ue sr serJes eqJ 'o8e s-rea^,( aruos
pau8rssp l ualsod Jo serJas e uorJ
eJe esJáA pue s8ultre;p eqJ
'sa8ed JnoJ lxeu eql uo seJnleorJec
aql Surrvre;p s-rea,,{ ¡e"re.a.as lsed aql
Je^o peq a^eq I un+ eql eur8erur
ile./v\ ueJ noÁ ¡r{111r\ unJ e^er{ 01
sr eráql lerJeleur Jo r{llBa.ry\ e leq/\\
luqt lsnf '8ur-rnlecrreo ur lsaJel
-ur ue Sur.roqs al,no,{ ler{1 A\oN
'a¡doad ¡o .(1ar"rezr.
e e8-re1 os Surp¡our qol.{sea ue seq
(s1sr-rnlecr.rec pue) s-roldpcs ¡e ¡o
\P 1sa1ee¡3 leql 'eJnleN Jeqlory 'rrer¡
pue 'saqse¡a,,(a 'szno-rqar(e go spurl
lueráJJrp pue spunod erlxa .ue¡
v, e 1sn[ qlrzn a8ed Surpaca-rd eql uo
puE ersq $lool reueemleq-q eq]
lueJaJJrp lnoq eAresqo 'a¡duruxa
rot ¡ecuareJJlp aq1 a{€tu ol qsnu
e{e1 l,usaop U puv'sn Suoure uorl
-ecqdnp a18urs e sr ereql JI lqnop
I'r{Uua uo a¡doad uomlq JIer{ e pue
JnoJ lnoq€ .\\ou eJe a;aq1 q8noq¿
'surlru Iesrluapr palle3_os sapnl3ur
leq1 pu€-e1¡¡e .{¡1cexe pe{ool suou pue oJrT ruorJ e¡doad Jo sarnlesrres 000,00I ueql eroru
uA\EJp aA,I 'sasseua>lllueunq lueJaJJrp ,{ueu¡ os acnpo;d ueJ Jreq p€aq e pue .qlnour e ,esou
Jo
e 's;ea o,ml 'sa.{a orrrl .(¡uo leql purur ,(ur sa¡88oq 1I 'peeq ueunq eq} lE
IaAJeru o} eseec ralau I
II
\
l.
 alwavs wear her
RosemarY doesn't

Hffij',';'-":*:rl*'ffij'fl
something extra
to exag-
;;;; *"
Effi ;' iñ"crown
T:r:'k;"ii:'
sc :$ff"J
hair at its her face'
l# ,t"'to"arishness of will effect
iln" i.* iüt on" feature
another feature
iti" ffi;;;""" "jfactor to consider
il .i't'rr,o"rtant lt's discussed in
;#; ;;aturing- RálativitY Part 2'
;I:.ü;on
"'-i"".i#"i.uv, is the onlv photo-
.

this
sipt "r *:;::.1J]'ff*:lm:
u'ell enough to us tt:I
Irrá t"L.Z"¿"¿ inofgetting most ot the
ñi"*;i;* shots book"several
iil., ."U¡"cts inarethishelpful'
different views P":u"'t^t'
view a caricatunst
f";;;; *nrti"t'
from'
mieht choose to drawfacial char- 'the
to see
:ffi;."tur" maY not be n-oti19-
him
;*Ñ; üat phttograph' tn this
able in only one
i*,"r,.' it was Ir":":J:?*,H'ffii
RosemarY is a tr
ffi;''A ;e[ what she looks like:
har
triangular
beautiful, even with
and squared face'
'' ir"iui^sfm concerned' all mY
.oU5""t' are beautiful'
 'I I Pu€ 0I seSed uo reuea^ueg
-q aql Jo asn ,{q umoqs se^\ leq,\\
¡o seldurexa crssep eJe srJoq pue
,{:euraso¿ 'Jreq Jeq Jo srr{ sJ€e,{\
lrelqns eq1 .{e,^\ eqt .{q pe.re11e .(¡ec
-llseJp eq ueJ ecue,reedde s,eug
're1n8uer,rl sr oprs eql urorJ
uees se acue-readde Jer{ uo seq lr
treJJe Ielot eql 'tl sazrseqdure .rreq
,req sreel\ aqs ,{e,u aql pue-ulr{J
req Jo tuolloq eql 01 p€eq rarl Jo
do1 eqt LuorJ .{l1ll8rls 1no s1n[ a¡1o-rd
reH 'ePrs eql uorJ reLI Merp C)l
pa:ra¡a-rd I lnq luorJ ar{1 urorJ olqe
-Jnl€JrJeC sr eceJ punoJ JeH \ou{
()1 Pelue.ry\ "
I leq,\ eIrI plol srroc
¡o sqde-r8o1oqd o.m¡ 'retleq sl s¡{J
€I
 14

I0hof0Fgcelhoue!
- '¡^,\ 7',) ffi('
Wff
:$ffi5
lffi,su (;!t

¿é
i§,,1=-
/ {,r. \{V«
#

'-ft-. \-
''. . -. )'

W
 'adno¡u¡urD pun
prnoD snllDl
D ¡0 IDql aqtl
'ado¡s puu adnqs
'arryxal 'azls ul saut 0 II
 t+

I0hota Foce I hquef

,.t--=:>'
/ z\
/ I - (11,,\

ñ
4
li

ffi
ffi
*m,
{»,
j
'z //,
#:sll
;u
t
 'adno¡u¡urD pun
prnoD srylDl
D tro IDql aqtl
'ado¡s puu aduqs
'arryxal 'azls u sauDo II
gI
 16

IIly eyes, nose, msufh ond

eors ore lorge, smoll,
long, shorf, flof,
bufbous, nqrrow ond
wide, Hnd fhe spoces
befween my feafures
ore os uqried as fhe
[esfures fhemselues.

1(
-; L

?\ >

{+
)=I
#¡
I
 ':Wl
r:ii1
::i.\
sú rY:t
u, \ l'l
\¿yl »+'n'
::.,a:X!2-Z-
Yffi:.
+1 \
,Y
-§l
"-/ (
tár
^)
!.1
 3

Practice bY Drawing Comic Faces

without a model' If you are abeginner' be patient'

It,s time to start practicing-Fr,
ñ.".*i"g real pe-ople comes later'

BEGINNING TO DRAW

subdivided ;:;gl;r tfri íát., ," b.9 éopied or traced

Tohelpthebeginnergetintgtl,"habitofdrawingsymmetrically,Ihavelaidout
a few symmetrically
gV drawing the "" *i'ti'i íhe allottéd spaces' the
ieatu"'
onto another sheei.
sYmmetry of the face'
besinner .ur, *olJ """ti, tl"tttittte the same wav;bv mv having
on the ,"*t pug'á;""ili;f,iJ"
Íhe comic faces
with their';tñtd"á Ut'"t first' Notice that the spaces
rn-
drawn the rectangles between the lines separating the
between them are not the same .r;h; ;+es are a little above the
betweener's features' Also oU'""i"'i'ti^"t"rt" '*iti'iil""ifts
;;;th hnes. I'll exPlain whY later'
eye eye

THE ADVANCED STUDENT

student' too-
for this exercise can be of help to the more advanced
The diagrams urü;;;oiri"g the codification of
reason.I have fffi;',h.,'"rá"
but for a different
rnv ,.rn_betweener,, formula, *urii'oi Ái
rr"¿""ts who have had previous art
iiT-"'r qTl" timid about *1*fffi"lfúururrrons in this exercise were drawn
"* but inhib-
.o.,,.,uction ," ,r'"i ir'" ud,u,,""d
;#::"11,TilL'HJff:f;:rl?#i,, ,"". ho.,i ;;iti; it is to draw a face with extreme
ited student may readily
give it an appearance of plausibility'
proportio.r, urrd-át th" ,á*" time
18
 .-+
'eJor{ euop
e^eq J se uleql uq1r1K
seceJ crruoc A\eJp pue
a8ed lxeu eq1 uo sue-r8erp
eq1 oceJl ,to ,{do3
6I
 -¿o

eye

Study the
examples of hair
eye line
style on the
preceding pages
nose
and the examples
of facial features
on pages 22 mouth
through 25
before beginning
this exercise.
SIDE VIEW + FRONT VIEW

eye eye

eye
eye l¡ne

(E
o
nose
mouth

SIDE VIEW

FRONT VIEW

eye eye

eye line

(ú
err line nose 0)

eye line mouth

SIDE VIEW

-
FRONT VIEW

FRONT VIEW
 .dlr.l .r{lyrr po.^aopue
ru&\ 1eq1 eq,(e¡7X ore sn Jo etuos leq1
sornleeJ ¡o sed.(18u¡qs¡n8urlsrp ff\eJ e
¡o ,(ur1n¡js dn-esolc e e>le1 s,raT .Büreas ,rn ,oli
1eq^\ Jo serlrrerlncad aqt [e ozrleor o1no,( roJ acuel-rodu¡ilso-ir., ,{ool no.,{ sy
¿uHl Jo '{crql '.(1u10d 'A\oJJeu rpeoJq 'puno; .e3-re1 '¡á'.111
ilerus ,{"q1 sree eql lnoqe
puv ¿I{rntu srun8 eql oC ¿trcde reJ ro r_ar.{ia8or "g ^\oq
asolr ,{eq1 e-ry'¿,{lr3,
^\oq.'ot JI ¿1v\oq!
e8-re1 aes no,(
[e.,s ro qleel !p 'sq8nel eq uoqr\ puy .sdrr ,1q1 ,o ,au
n"i qlrÁ iil,]*J
;o e8-re18ureq se qlnotu s,lcafqns ¡no,( b,rrSrr a¡e nor raqirq,ni'"zru8áce¡ ol
sr 1I '1\\oJJeu Jo 'eppl r[etus ,a3_re1 eJe slrJlsou eq1 luelrodurr
1eq1 Jo
,rtop-¡o dn p""r"f i"q1.
al{lro '(ear euo_pol[l se esou eqt áureas 5¡e no,c ter{t árr1n"rÁÑi;"or 01 1ue¡rodur
sr 1r 'ouoauros SurnteJp eJe no,{ ueq¡¡ .r(11Ce_r_roc se-rn1ee;
s,lcetqns ¡no,(
01 elqe eq IIIIv\ no,( leqt seruoreJJrp eseql 8u1zp8oeer"f1 ";;;;á;;sFIl
,{pb s¡ u osneceq
uo Surd;eq dea>1 01_e^eq J'suor1c,ir1iro,
1errr,(qd s,eldoa¿ áuJüe seruoraJJrp aq1 Jo
sseuoJe.ry\e ueo{ e dola,rap 01 SI lslrnleJrJBc qc10u-dá1e Sururocag ol
{clJl elor{^\eqr
lz
Our EYES ffiffi
i
-/\
¿#{\,

"mii,r
&/ ' \ü'
ñ =

,rft
ffi
--ñ
r,€'
rñ {¡

-t-
,/
,rt
\'
ffiffi
ffiw
-..--_..-*--_*****---

...andour
 >,
/L,
(o
(*j.-}
i-:
NOS ES

\1O
rt
a) M
¡t

{j
\/

-#*
 'u8rseP s.oJnleu sr 1I'aurJ sI
se are ' ' '
leq} pue eeJl e Jo se^eol eq1 s€ poue^
q
.c
SHINOW
ffi -ír"l*J}#-
r'r'
26

practiced
your awareness.of people,s d'|l::i:.. and have
sharpen on real people'
Now that you,ve begun-to r"f' háw mv' formula works
drar'ing comic fá..Ñitni" .rbdi;ilJi;';;ü;;' '"L friends on the next
ti--v few pases are
f.i"rd.;;';;;--h";" u'a
The photog."p¡-áf ,',y th" between their features'
superimpos"d';,Íá;;;;i"*i;; r'í1""]"ürriái;t 'pu""'

nN§f G AL #fiu§EprñffiF '' -'-

are not the same as the
In-betweener's' Naturally they're
\bu §ill notice that the construction lines
nor the same, because mv rriends
u*''t"+**1;"T"t^T;i::*,ffiH,#?::,t":g#fl;J# to
§:lli,'ffi"J.:."#;:fí.H:lti:i:uJ,::tJ["Jil#*''ü;;;pñ;théirieatureswiththern-
.f is in excellent waY to learn
b"¡*r."n"r,s features. rhis method "rJ;;il;;il;{il'l''g'^|h
or". muga'i"" phoiographs of
U#s Ug'trtty
'"*ffi;;J
caricature. Try it. oru* "or,rtruction
rhat's ali it is. you shourd not
as a pretiminary step.for.rearning.
**mtrffáff?j::xr$:* glrii#.;ii!á.i.',t¡t;á' wñh the exception of the tvpe of
become dependent;"-iri;;;;;;rá* (to be explained later) your caricatures
artistic caricaturing requiring p.irr*ur.iíg'á5riu".r,i"n
;"JJ .;i#fJ,}:#"H: H3.i':liffi:'"ñii'ii,*, rriends Mv descriptions or themwider,
or
are in
I
naf'rower
i ¿"rlriu. " h"ud"u. beingare closer together or
the In_betweener. For *rdil, ;l;;
contrast to *het', Luy a subject's eyes
mea. in contrast ," it " In-betweene''t"f'"uJ, ln-u"*"""""t'' i to,,,"ti*"s refer to a feature having a
t
farther apart, -"á irr-.orrr.ur, to the "yé'' subject is constructed' This will
specific upp"u.ur""-b1"urr.e of
the *uv á"",t er feature "i-;h"
Relativity Par' 2'
.iarifu itself for y"; * ;;;hapter on
 'q1nouI srq pue esou sq ueealaq acEds
snopueureJl e seonpoJd sIqI 'asou s,Jeuee.^A1aq-q aql ueql -raq8rq r{Jnru pue Japoqs sr asou pa8plJq
-t{8H sltt 'srJaueelvuaq-q aql ueql raq8rq pue "ra3"re1 a¡e sa,,(a srH :seJnleeJ slr{ Jo s}uerueJnseaur
IeluozlJol{ eql ol lcadser uI sI Jeuaalr\laq-q er{l Jo leq1 uroJJ oJeJ srq 3o arnlredap tsatee.r8 aq¿
'Ual sFI o1.{¡1q3r¡s peurnl sr peaq srq asneceq
llq fnq
e JJo -¡uadde.{aqt ¡enbe are sernleeJ slr{ uea^Uaq saceds IeJrUaA er{I'urqr ar{l prervrol ur sradel
1l asneJaq Jelr\oJJeu s{ool 1l lnq s.Jeuaa^\1eq-q eql s€ elues eql sr p€eq srpJ€uoe-I Jo r{lpl.ry\ eqJ
OUVNOfI
'aceds
leq1 Suuno:reu .{q r¡ pa1e"re38exa I os qlnour pue esou s,Jeuee^\laq-q eql uee.^Alaq aceds eq} ueql
ssel il qlnou pue asou s.lv ueetuaq aceds eq¡ 'tuaql uae^\laq saceds eql pue se.,(a srq
Jo rllprt\ eq1
ueql .relear8 aJE puaq slq Jo sepls ar{l pue sa.,(a srq ¡o a8pa Jelno aql uee^uaq saceds arIJ .lV r{1yy\ os
1ou-¡enba eJe seJnl€3J s,Jauee.^alaq-q eql uaa^\laq saceds eqI 'peeq s.Jeuaa.ryUag-q eq] uer{1 Japr^\
fl 1l asneceq s Á¡ear 1I ueql rapll\ peeq sq,,ry\erp I 'a8ed Surpeca"rd aql uo IV le 1oo¡ poo8 e e{eI
LZ
28

SUSAN

The protrusion of the In-betweener's nose is equal to the

space between the bottom of the nose and the mouth.
Susan's nose is longer, so I exaggerated this length in this
- aricature.

*(

r--: i: larser than the space between her eyes

'- ,.:i. and u'hereas the In-betweener's lips do
---r \larrha's lips do-these differences are
: : -..: CariCatUre.

r r¡ \--

Ii.; .u'r,. ¡r third of Marian's face recedes as compared to

r.= lu,.rer third of the In-betw.eener's face.
 'e8rel st qlnotu sq Pue
esou stq uee^\laq eceds áq1 Pue 'fieurs .{¡e,rt1e1e"t
sr peaq slq Jo do1 aqt pue se.{a slq uae,lueq
aceds eql '.AAoJJeu .(¡an sr peeq ,srocueJg IV
-
=l
'peeq sItI
aSpe Jelno eql uea^u
Jo seprs aql pue sa.{a srq 3o
leq eceds aql 01 pa-reduroc ueq.\\ Jeqle8o1 aso¡c
aq o1 .readde sa.{a sIH 'urt{c eql PJe^{o1 ur s;ade1
lI 'euq e.(a eq1 1e peoJq ,(:an sr pesq s,ra'(e¡'1
uf
^3l/\
\
30

G €
KATHLEEN -
the
Kathleen's head at the eye line is wide and
of her jowls makes her head
i"U""t.-Th" look even
;;;;. ,pá." between her nose and her
*."irt is morl than one-half the space between
^t
Á"",ft and the bottom of her chin; all these
"t
relationships are stressed in caricature'

VINCENT

Vince has a similarly shaped head' Since' his

;*iÉ pJrt ni. chelks óut, his head looks
.orrrdei. (Note the considerable space between
hi, and the fact that his smile widens his
"y",
,ot". f'U explain that effect in more detail later')
 'ecueJeJeJ Jo or.ueJJ e
Se Joueelqeq-ul aql Sursn sellolur qc1qll I ile¿ ,(1r,rr1e1e¿ ol pnbe sr SuunleclJec
Jo ile eq1 01 ecuelrodu¡I stl 'Z ¡e¿ ,(lrnpeled ,(pn1s o1 .(pee-r .^aou ere eAA
',{¡snorcsuocun U esn grrvr no,,( feqf ,(1deap
os purur ¡no.,{ ur pe8po¡ eq p1not{s epluroJ eqJ :uroql^\erp ol peeu 1ou ppoqs no.(
ueq^\ eurrl e setuoc eJeql'po1e1s ,(lsnorne-rd se 1nq '1sr,rn1ect,tec Suruur8eq eqt "ro¡
spre snolelJeru eJe slreJlrod oloqd Sursodtut-redns sautl uorlcnJlsuoJ peprlrpqns
¿sdr¡ 8ur1sa"ra1u sq eqIJJSep o1 ,{-resseceu 1I sI
's¡,nof pue $laeqc slr{ Jo sseullnJ eql Jo
esneJeq JepuoJq sruoas 1I 's¡Jeuee.Y\1eq-q aq1 sE
qlpyv\ etües eql fl euII a,(e aql1e peeq s.pr€q3lu
OUVHCIU
a-A
w
.sq ueql
JepeoJq eJe sauoq^ e[ "ra1¡ 'asou JeI{ sI os-s,Je
-uee.\\1aq-ul eq1 ueql Je.\\oJJeu sI eceJ s,uBsns
NVSNS
 4

Relatiüty Part 2:
The Relationship of Things
to Their surrounding and Abutting Elements
since my conception of the
Since caricaturing maY be onlY one of your graPhic art interests and
theory of relativity is applicable to the other arts, I think it is appropriate
to explain it with abstract
shapes.

Here we have a triangle set However, if we accomPanY it

alone-independent of anY- with a structure entirelY differ-
thing else. With nothing to ent, the imaginative artist can ex-
compare it, there is nothing aggerate their contrasting differ-
to give it relative distinction. ences.

Fig. 1
Fig.2

To illustrate: Figures I and 2 show the

b
same triangle standing next to an oval.
In one square the oval stands verti-
callv. In the other it is horizontal.

{
Fig. 1

^l
To emphasize their contrasting shapes I have redrawn them
By flattening thelriangle and lengthening the oval
;f F;;".; r uáa Uy lengthening the triángle and flattening the oval
"*ugg".r,"dly.
of fTgure 2, théir rélative differences are dramatically pro-
nounced.
In its application to the art of caricaturing, the size and shape of
u p".ro.t;, features may be exaggerated, not only by comparing
Fig.2 them with the In-betweener's features but by comparing them
with the size, shape, and location of your subject's other features.
For example, you may decide to draw your subject's eyes small'
not necessarily because they are smaller than the In-betweener's
but because your subject's other features are large by compari-
son. Or yo, *ight choose to draw a particular feature round' not
b".urr" it is ráunder than the In-betweener's but because the
other features are angular by comparison. The application of this
approach will clarify itself as we continue'

32

L----
 33

features can be exaggerated by comparing them'

Here's Al. AI is a perfect example of a person whose that
size, shape, and locatión of each other' Notice
not with the In-betweener,s features, urt litr, the it appears that wa¡'
his mouth is not smaller than the rrr-bet*"".rer's but
I dráw it smaller because
of his nose' By comparing. Al's eves with his other
due to the fullness oi-fti, .fr""ks and the width
And the ráundnltt of hit face made the top of
features, I found it necessary to draw. tfr"- tÁuffer.
his head appear naturally, I drew it that yuy',, r-- L^¿-..^^*^*,- L.
"ut*"r-io,
Now turn Uu.t to fugá ¡ t. érrrurr'. fuc" it narrower
than the In-betweener's but it appears even
the width of her face within the
narrower because the lens of her spectacles seem to contract
spectacles. Though há. Áorth i. *ir"r" it.
I*b"t*"".rer's mouth is relative to the rest of her
features-% down between the nose uná th" bottom of the
chin-I elongated her chin in order to
emphasize the narrowness of her head'
page 28-' It gives the-impression that the space
Take a good look at Marian's massive coiffure on
between her eyeline and the top of ft", n"Ji
g."ut". tñan that áf tf'" In-betweener's' It may not be
but I drew it lárger because of its resultant impression' parts to all caricatures in this book'
two
See if you can figure out how t upphál."lativity's
34

\OW LET,S PROCEED WITHOUT GUIDELINES

u These caricatures and all those

following are Printed with their
respectiie photograPhs devoid of
superimposed guide lines' Exer-
cise your knowledge of what Y.ou
have learned so far bY figuring
out why I have exaggerated.Zal's
and Paula's features and all mY
other friends in this book the waY
r did.
 eqf ,{q u8rsap oJJeZ.qe parunsse eceJ Jer.l
',{em leqt 1l ul\eJp 1eqletu ol patuees U'JaLI A\eJp 1,(em eqt
8uu.eq 3o elrds ur sseue{Il req pauleler ur eur uo peq oprreq s,erq1u.(3 lceJJe aq1
e^,I {uql I lnq-l,usr 11 '-reln8ue pue sr qceordde srql ¡o e¡druexe 1ce¡-red y
A\oJreu ,(¡.reutproeJlxe sI eceJ Jeq uoIS ',(¡8ut
-sa-rdu¡r eqr Supp ebeJ req Jo sepls ot{l -procre ureql 8ur1e-re88exe pue rer.{lo
uo 1Y\opeqs e slsec JI€q Jeq Jo sseullnJ qcee qlyr\ sarnleeJ slr ¡o sedeqs pue sazrs
eqI 's1 1T ueql -re8-re1 sreedde qlnour eql Suuedu¡oc ,(q ace¡ e 8ut-rnleclrec
Jeq luoJJ eq1 uroJJ peA\eIA 'srvref -req Jo ue eqt'Z pe¿ .(lrnrlele¿ Jo uollezlTlln
sreloJ pu€ qlnoru JeL{ 01 esolc ur sede;p ¡no.( r{lyy\ peleloJJoc sr 1r asneooq A\ou
rrer{ rer.{ asneceq 1nq e8-re1 ,(1-repcrped 1cefqns eqt dn Sur8ur.rq ur,I ('6 ;e1deq3
lou fl r{lnotu raH 'eceJ ,(1ano1 e seq ur seJnlecrr€o orlsruorsse¡dun lnoqe
eqs 'sqderSoloqd rolllo eql ruoJJ ees u€c ororu {lel [,I) 'r(1rpn1ce slr ueql reqler
no.( sy'luoJJ eql ruorJ rar{ ol esoqc ees nor{ leq^A Jo uo§sa,tdun arTt e1e-re33e
I Áq¡A s,1eq1-1uorJ el{l ^\erp
uroJJ luaplle -xa ,(eu no,( e-ro¡ereql 'sr.(1¡en1ce 1€q^\
sr utrsep eql '1as seff\ JIeq -req ,(e,n aq .(¡ressooou 1ou ,,(eur aes no,{ leq¡\
VIHIN C
+GD
L
NOIJVNICVru dOOA HCIEdIS
cc
36

lmpressions are highlY Per-

sonal. One individual's imPres-
sion of a thing can be entirelY
different from another's. And
a person's imPression of a
thing can change with time-
thus a caricaturist's interPre-
tation of a subject might be
different on two different oc-
casions.

ROCHELLE

See how different mY

interpretation of Rochelle and
Ruby is on page 120.
 f t'tvrvN
'Surrsa¡alut ,{¡enba sI oceJ Jeq 01 {ool qsl
-:enbs aql lun{1 I lnq elqeJnleJlJeo ,(¡qe,(ot
-ua sl asou Jar{ Jo dae¡rrsdn oI"[J 'u1Y\op suJnl
asou Jeq leqr uolssaJdrur eq1 sam8 1¡ 'ue>lel
sem qderSotoqd eql se u/r\op peal{ req
pa1lrl e¡ele\ :\\er.\ luorJ al{l Surp"re8e¿
'lraJJe
luereJJrp 'pootu luaraJJlp 'suad 1ua"re3¡q
'ásáql Jo qf,ea uo suad lueJeJJIp pesn I
LC
t
38

Some people lend themselves

better to caricature than oth-
ers. In spite of Anthony's good
looks, he was a joy for me to
draw.
 'leuorsuo(urp-eeJql oJe
{ooq sql q s8uvrre-rp eq1[e'1ou ro snorlqo -reqteq¡¡'8ur
-A\eJp Ieuorsuerurp-eeJql 1e Jelseur e se^\ uosur{of 11oJS
'gg¡ e8ed uo uofiew Surmerp ar{l 1e {oo-I
^\erpuv 3o
ueq^\ Burlsorelur oJoru ,rn ,rrn, ,."..;^If, f# Yffil
eprs ro luoJJ lcoJrp ueql Jer.IJo sff\er^ uroJJ alqeecrlou
erour oJe soueld 'oceJ s,1celqns ¡no.( ut serlrxeldruoc
pue soueld altqns",{J eql pu€ ees nor{ d¡eq [r.^a esrcrexo
0a eq¡ '8uq/ue-xoq e^\erp 'ellloq e 'uec e '[eq e-s1celqo
elerurueur uo Surcrlce¡d UelS 'Glesll ur Ue ue s,1eq1) earl
-cads¡ed ¡o Surpuelsrepun ellq e se¡rnba¡ 1I'reuuetu sq1
ur ul\o ¡no.( Jo seJeJ ,(reur8eu¡l e A\eJp o1 no,( pnq
^AeJ
l,uplno.ry\ 1J'SlUetIIOJnS€OUr IeCrtuoleue ueunq uer{l JeqleJ
ecuar¡edxo pue uorleur8eur.(u¡ uo paseq a-re saueld JIeqI
'esrJJexe ue se ureql pe-rede-rd I 'suorlcnJlsuoo
Iernlcel
-rr{cJe .{¡engrn eJe oJer.{ u,^r\oqs s8urrrre-rp eql'seJnluepur
pue suorsn-r1o;d oql eleJaSSexe pue,(geuorsuarurp-oeJql
{ulql 'e-ro¡e-reqJ 'epecor pue opnrto;d qselJ pue 'seuoq
'selcsnru slr leql ueeru I gtdap ,(g'qtdep seq peeq uetunq
eq1lng'qlpyt\ pue lq8req :suorsueurp o^u.(1uo uror¡ uo|l
-cnJlsuoc Ieruerc pue aceJ aqt pez,(¡eue e^eq eA\ reJ snql
,I-I.IVNOISNTWIC -giIdHJ )NIHI
 This is
Chuck.

\.=- t
\
Here's the In-betweener again. I put a little
more character into him this time io that you
can more readily see the planes of his face.
Chuck can afford to look defiantly at the In_
betweener because his face is more interesting.
It's interesting because it has depth.

The human head has dozens of bones and muscles. There's

no need to know all of
them nor to know every detail abo-ut those you áo k.ro*. il ;;;
should know
enough about the cranium so that, thinking three-dimensiá"dly, yo.,
.u, give your
 's8urm,e-rp -rno,( olur
{ldep tnd o1 ureel ppoqs no,('8ur
-,(pn1s e¡e nor{ ap{^a 1ng 'eldurrs
,trerr aq ,(eur 1ce;-red .,{1e1eurp1n
,{eu¡ no.( Surrrre-rp ¡o e1r{1s eI{1 JoJ
'r{e¡r sIIl A{eJp s.,{ezlt¡e ,{luesseceu
paeu no,{ ueatu lou seop srt{J 'ell
-qns ff\or.I Jeileur ou 'ece¡ s,1celqns
f ---\
¡no,{ uo eJnlueput pue uorsn.rlo.rd
,(;erre ezrseqdure ol elqe eq ppotls g- I
no¡ '11 s1y\oqs Sumnerp ¡no,{ e¡ns
e{etu 'sauoq>1eeqc e{1 Jepun ornl
)
-uepu deep e srereql ¡¡'8urpn;to"td
urorp s1y\ot{s Eurrvre-rp ¡no.,{ e¡ns
e{etu'epn-r1o.rd sauoq{eeqc s,1cel
-qns ¡nor{ JI 'Hldep sernleJlrec
tO-f 3UHI yN tHi
^]'lVNOrSNsn
\\
)\
>]NIH I
^llVNOtSN3y\lO-f
w
THINK THREE-
DIMENSIONALLY

The planes in Herman's

face are quite obvious. His
face fascinates me.
 seprs uel oA\J saprs 1q3rJ o.\[
\J ,tt
'
§t H
'IIIJI er{l 01e3ua
-reJJIp eql elereS8exe uEaur I 1eql Ág
'dn 1r
,(e¡d 'euleJlxe s,lr Jr pue lcafqns
rno.( ur U JoJ >loo-I 'erues eql ere
eoeJ e Jo seprs o.\\l ou 'leada"r o1 og
.atlles eq1
ere,y\ seprs r{loq JI pa{ool a^eq plnoA\
eq luaJeJJrp ees u€J no,{ teql
os saprs alrsoddo^aor{uo
JI€q qcea pelsed
pue '1-rede rueql lnc 'o1oqd s.ueur
-llq6 'rW 3o selecr¡dnp apeur e^.I
'a¡doad luereJJrp o.iyU ot pe8uo¡
-aq e^eq plnoc ,(aqr e>1¡¡ pe¡oo1 se,{a
srq pue rp€ar{ároJ slr{ Jo aprs 1q8r.r
eql uo seseaJc ¡o a¡dnoc e aJa.\\ eJeql
'dn pau;n1 ,tro;qa.(e lq8r"r srg 'ga¡
sq ueql ;aq8rq se,^^ Irrlsou lq8r"r srq
pue 1q3u sI{ o} palsr,t\l selrr esou srq
leq1 aas uec e.\\ 's.y\opeqs eql 3o elrds
uI 'eJeJ u qcns ¡o e¡druexa eruoJlxe
ue se.\\ srH 'uEtuu{^a ue,\a sl sHI
'dn q lo¡d 'pelqns
JnoÁ ur 1r ecrlou no,(
JI ¡puFu ur leq1 deey
IIWVS gHI lIdV ACVd EHJ {O SECIS O,/V\I ON
EÜ
44

ThisisLee'Thelinesrunningdownandacrosshisfaceleavenodoubtthatthesidesofhisfaceare
*#;::t;,"[y, book' with as much love as I
I scribbled Lee's face, as I have a few others for this
care' My intent is to show you a variety of styles
have for my friends;ñ I drew with *eii"rlous is
bett-er than the other' A recognizable likeness
and techniques. No particular one is- "";;;;td
whatrea§matters.(I'veportrayedLeedifferentlyelsewhereinthebook')

caricatur-
Here's Al again. His photograph, partially analyzedfor
warrants another
ing, appears on page ¡j *i"th fris óaricature'
He
of his face is
#;rtriy The vártical line running down the center
;il; i" his left. Under ordinaiy circumstances' this would
'.-B; he is turned slightly his
indicate to his left'
h" isn,t. Both sidés oi nose are seen equally-and so
would show
u." t i, ears. If he were turned slightly' one side center of his
*á* in^" the other. The vertical Iine- down the
is wider than
i""" ."r"¿s the fact that the right side of his face
eye is higher than the
his left. The horizontal line shows that one
other.
¿luaraJJrp ere areJ slr{ Jo seprs aq} ,{em aqt aqrrrsep 01 peeu e ereql { 'rug q sHI
')
É
 46
i

a paper stump. The pebbly

Sandy was drawn with a Wolf carbon pencil and shaded with
effeci is due to the grain of the paper I drew it on'
 '8uq8ne1 pue 8ur
-[tus ep{^a rureqr rreql Jo e8pelzvrou¡
,{ru no,( r{l}m 8ur-r€qs lou -ro¡ ezrSo
-1ode I'oceJ >luelq s.reuoelueq-ul eql
o1 pe-reduroJ seJnleeJ Jreql Jo suorl
--rodo¡d aqlno.,{ Sur,noqs ¡o esod-rnd
elos eq1 roJ suorsse-rdxe puelq qlr^\
pe,{e-r1rod eJe^\ se8ed Surpacerd
or{1 uo spuerrJ .,{ru 'r(1p1ueprcu1
'peq8nel ,(eq1 ueqrn e:eq
u1r\oqs spuerJJ snolres .,{ru o1 peued
-deq teqm ees pue e8ed oql urnl
'qcn(u se
elrnb 1ou lnq 'se¡urs uos¡ad e ueql\
JnJco sa8ueqc IerJeJ erues oqJ
'uorlcnJlsuoc alcsntu pue ouoq
Jreql s€ perJe^ se eJe s3r1ue elq€
-.,{o[ue Jror{l puv 'eturt poo8 e e^eq
sernleeJ reqlo eql [e pue rs{eoqc
eq1 'se.(e eql punoJe seuq eql 'se,(e
eq¿'sq8n€l1eq1[e lou sr qtnou eql
leq1 puru ur deey 'relleq 1l e{[ [I^a
1celqns -rno.( pue q8nel ru^\ 11 1e 8ur
-{ool eldoad aql'Surq8n€l fl Surrrre-rp
¡no,( JI'snorlcaJul q -ra1q8ne1 'q8ne1
JaI{ Jo ruq e{etu o1 ,(¡1 'r(ervr 1eq1
1r Sur,le-rp lsrsoJ l,uec 1sn[ no,( leqt
snoJorunq os Jo enbrun os uorsse.rd
-xo Jeqos e seq 1celqns -rnor( sse1u¡
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50

Iused the same medium and

method of shading Esrom's
drawing as I did on the one of
Sandy-page 46. I drew him
on a tinted paper so that I
could emphasize his teeth with
white paint.
An inexperienced student
might have chosen to draw
him from the side because of
the bump on his nose, but as
you can see, much more of his
personality shows from the
front. His mouth, cheeks, nose,
and eyes do all the things ex-
pected of a laughing face. His
cheeks raise; his eyes close; his
mouth lifts; his nostrils
broaden and turn up.
Turn back to page 30.
Vince's eyes are smiling-
therefore his mouth is slightlY
above the In-betweener's
mouth line. If Vince had
laughed, his upper lip would
have raised higher.
As explained before, these
are the things that alwaYs
happen to a smiling or laugh-
ing face-that is, almost al-
ways. There are exceptions.
The next two pages comPrise
such exceptions.

ESROM
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There's no doubt that Irv is laughing heartily. His

head has flown back and his eyes have squinched
up. But notice-his nostrils haven't flared very
much and the space between his upper lip and nos!

g
is the same as when he didn't laugh.

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 64

EDWARD G. ROBINSON JOAN CRAWFORD CHICK SALES JIMMY DURANTE

WILLIAM POWELL BUSTER KEATON

EL BRENDEL

WALLACE BEERY CONSTANCE BENNETT GEORGE ARLISS

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L9
 Bodies Can Be Caricatured, Too

It's fun to draw faces but professional caricaturists have

to have a more rounded understanding of art.

trA
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v*-

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3
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Since the entire human figure is caricaturable, I must particularly impress upon you
the importance of learning as much as possible about the human anatomy. you
neednlt keep a skeleton at home for the purpose but it wouldn't hurt to study á book
or two on the subject and/c¡r go to a life class. The few pages devoted heie to the
subject barely scratch the surface.

6E
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70

THE IN-BETWEENER,S BODY

like a man, but for caricaturing
The In-betweener is bigeneric' He looks more him as a
he is neuter. I have not gone wrong-nor will you-bY using
f.r.por"r,
rt^t aut¿ for comparison while caricaturing women'

The In-betweener, whether configured as a

t{
man or a woman ' is 7th' heads tall' The
more curvilinear than the male' Her
average woman ür-u11"r, ,oft"r,-.ár-rrder, and
chest is smaller and her pelvis p.áp".ri"".11y
larger' She has more flesh on her
;m t *:'jg:
chest, hips, an d b utto cks. H9r p o s tu"é,
;,
+i : :,ii1{,*y"Íltl; :il1
il'"',ff ,ilI,';f H"T;i¿:ili"?irrlrüiiái"rarecancaiurable.rrvouisubject'sheight
be
is more than 7thir".á. i"ff, your drawing of him or her could ^d
If he or
práp""i"ned out of g or g or more head measurements.
the exaggeration-
she is less than liheadstall, you could reverse
Usually (but not ;;;;;;";tlvi tall people h.ave
small heads and
hurr" i^te" ttá,at to of their bodies'
;h;;;pI," ""pn,ut"á lh.t lttt par]s are-as
when caricaturing"the entire body, relativity's two
dli;;bü "; *h;"-á.u*i"g the fáce. With the aid of the In-
ñi;;;"", u, u rráÁe of refárence, youfromcan exaggerate whatever
is different uborrtlor.t"b¡"ct's boáy other people's'
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 76

emphasizing the impor-

That's right. Who cares? I've been
tance o[ ,ra..r,u"iit''j t;;;;t-'
t don't mean vou should
d"tullt about everv bone
necessarily attempt;'il;";iiih"
knowledge (verv few
and muscle. I have ;""':;; iir".""gn
you should understand it
artists do). What f Á"u" is that
thá.m-betweener' That way
enough to be able able to
when vou ur" a,u*in"g l.petá; full-length' you will beparts
'á"1*g" of
thé external
I"ffi"ffi;J;
'rffi*t:;"t{ ¿^"d spaces between) them
b;ü;ití.,' ;h-other ánd exaggerate
accordinglY ! ^r the
^. conceived ¿L^ idea nf an
:roo of an In
[n-
Several years ago when I first
with sufficient
betweener for caricaturing' I
was.presented
,.lE!, *y th"o.r. I was confined in a
time and
"orr"ri"riJ" wain't serious enough to
hospital for a few davs' My sickness
to tin" up against the wall
immobilize me so t;¿;;i?;;"'t"t
interesl. Interns- and
and I measr."a tr,Elr.;;;fgreat in to watch' so
doctors *ho didt''t"ü;ñ;i; ;"''ia'd
came
of other patients' But I
did the barber, U"t'ii"á'] and visitors
ehe' I found
didn't care-in f"t':i;;;v"d "' .§"
a¡9
"uetvoné
t """i lfid"h
árt * r, ". " " u. I j
ln ".:i"lf'y, :LT
knees, and a few other things
" "t1
were
In-betweener theorv' mv
¡ "ii';
As for proving ;il;;;;h"tf mv
it sure was fun'
findings were far itt*^""""fusivá-but
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folru tquk*d uPan
Porotle
r*ith resPref. -
trlreñ; ü nourion the massuemde'
oti gour 6rmenls snd
reÍlert'
§*sf
Vou're in fhe Pi$ure tou a

"¡ dont suer Iorget'

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